Carl Heinrich Graun: Te Deum (2006)

When one considers the differences between the Te Deum for soloists, chorus, and orchestra of Carl Heinrich Graun, composed in 1757, and the three motets that round out this album, from between 1721 and 1725, one appreciates the achievements of J.S. Bach all the more -- and not just because Bach was the greater composer. In fact, Bach held Graun's music in high esteem. The striking thing is how much musical style changed in those 35 years. Graun's music, at least as exemplified by these works, changed with it, whereas "old ... Read More

When one considers the differences between the Te Deum for soloists, chorus, and orchestra of Carl Heinrich Graun, composed in 1757, and the three motets that round out this album, from between 1721 and 1725, one appreciates the achievements of J.S. Bach all the more -- and not just because Bach was the greater composer. In fact, Bach held Graun's music in high esteem. The striking thing is how much musical style changed in those 35 years. Graun's music, at least as exemplified by these works, changed with it, whereas "old Bach" took the more conservative but in a way more radical step of working the old style out to its theoretical limits. In the Te Deum, orderly Baroque processions of chords are plainly a thing of the past. A continuo would be superfluous, and the Munich-based Baroque orchestra L'arpa festante does not use one. The sunny mood, uncomplicated diatonic harmonies, playful spirit, and expansive tunes all sound as though they could have come out of music by Haydn or the young Mozart two... Read Less

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2006, CPO UPC: 761203715824 SACD See All